music theatre


music-theatre about the end

for performer, eight-piece chorus, electronics, percussions, guitar and projections

All things come to an end! Capitalism has reached its final phase, democratic systems are being challenged by populism, the open Internet is being repurposed as an algorithmic surveillance machine, and enlightened society seems to have been replaced by post-factuality. But life in the post-epochal epoch is in no way at a standstill, as the “End of History“ theory suggests. On the contrary, the world seems to be in the grips of a great dynamism. This dynamism is both shocking and fascinating, as no one really knows where it will lead.

More than half of all the IT millionaires in Silicon Valley are now engaged in preparations for the time after the end of civilisation. The list of possible triggers for the apocalypse is long. Transformations and their denial form the focus of THIS IS NOT A SWAN SONG, a piece by Maciej Sledziecki and Marion Wörle, written for eight-part choir, actors, monochord, light bulbs, tape machine, table-top guitar, computer, music machines, sound objects and projections.

THIS IS NOT A SWAN SONG is a consideration of that which is lost, is being lost, and that which should no longer be. The theme of change is reflected upon using the metaphor of the “swan song” as a starting point. It is addressed in an experimental setup that permits various perspectives and stylistic devices.

The piece takes place in a fictive bunker, which is inhabited by a bird-like creature. Seven scenes flow into a recurring ritual. The musical style varies depending on the theme of the scene. Light choreography, projections and text also join in with the repeating sequences over the course of the piece. Light sources become musical instruments, light impulses become rhythm machines. The routine of the bunker is disturbed and its processes interact with the choir members. The title THIS IS NOT A SWAN SONG paraphrases both the song “This Is Not A Love Song“ by post-punk band PiL and Magritte’s “La trahison des images” (ceci n‘est pas une pipe). In the interplay of these conceptual fields, THIS IS NOT A SWAN SONG forms a heterotopia - an “other“ place, which is undefined temporally and functions according to its own rules.

to be performed at STADTGARTEN Cologne, Schwere Reiter Musik Munich and Ballhaus OST Berlin winter 2017 / 2018

more to come...


losely based on a short story by David Foster Wallace

for performer, electronics, music machines and video-projections

In times of digital euphory and fatigue at the same time the piece questions the concept of "future" and enters the field of progress, Utopia and technophilia. The piece is based loosely on a short story of David Foster Wallace. The story is being retold from a retelling about a small jungle civilization's advancement and eventual downfall as it interacts with an exceptionally brilliant child/guru. This framework interacts with found footage, like for example frequently asked questions by Google or excerpts from UNA bomber Ted Kaczynski´s manifesto. Projections and "talking heads" shot by video Artist Zan Lyons, slides, pre-produced texts and the performer Jörn J. Burmester will present the piece on stage. Dark and delicate electro acoustic and electronic tunes, delivered by gamut inc´s retro futuristic, self built and computer driven music machines, forming a technic totem pole in the centre of the stage, will carry the piece through rise and fall of civilisation, as it is retold by someone who was himself told by someone who overheard it on a United flight, told by one passenger to another. The story is given several possible versions and endings, nobody knows which version is true, because information has no weight.

performed 2015 at Brotfabrik Berlin, ARTheater Cologne and Schwere Reiter Musik Munich

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music-theatre about music and war

for performer, electronics, drums, electric guitar and videoprojection

Music was instrumentalized through all ages. In ancient wars bagpipes and drums were used to stoke up ones troops - or to scare off the oponent's. No dictatorship without propaganda-songs. Morale-boosting paroles are musically embedded. Music is a weapon and a torture-instrument. Compositon of promotional jingles is a profitable field of work. Meditation music sedates. The list is endless. In the music-theatre GHOST TAPE XI  Maciej Sledziecki and Marion Wörle let the sound-shadows talk. They speak about the dark side of music distribution in which science, belief, conspiration and speculation enmesh to a grotesque spectacle. About the bipolar nature of sirens. And finally about what Doris Day has in common with the atomic bomb.

performed in 2013/2014 in Alte Feuerwache Cologne, Schwere Reiter Musik Munich, Audio Art Festival Krakow and Uferstudios Berlin 2017

Marion Wörle:  composition, electronics
Maciej Sledziecki: composition, guitar
Christian Reiner: narrator
Andrea Belfi, Colin Hacklander: drums
Jacques André Dupont: video-scenography
Robert Nacken: sound-direction
Catalina Fernández: light-design
Guido Möbius, Nora Gores: PR

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gamut inc